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Art History And Contemporary Art
The world is a complex place and the old, outmoded, Eurocentric way we look at politics, economics and culture (art) may not be the right way to conceive the new order. Globalism describes, in fact, the increasing unification of the world through economic means (reduction of trade barriers, support of international trade, and mitigation of export and import quotas). They goal for globalization is to increase material wealth and the distribution of goods and services through a more international division of labor and then, in turn, a process in which regional cultures integrate through communication, transportation and trade. The overall theory is that if countries are tied together cooperatively economically, they will not have needed to become political enemies. However, politics and economics do not exist in a vacuum, and art is part of culture and the historical paradigm of regions, countries and is part…
Bittarello, M.B. (2008). "Re-Crafting the Past: The Complex Relationship
Between Myth and Ritual." Pomegranate: The International Journal of Pagan Studies. 10(2): 214.
Croucher, Globalization and Belonging: The Politics of Identity in a Changing World. New York: Roman and Littlefield, 2004.
Fraser, A. "From the Critique of Institutions to an Institution of Critique." Artforum. 44 (1): September, 2005, Retrieved from: http://occupymuseums.org/press/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of-Critique.pdf
hen Gertrude Stein mused that it is not possible to be both modern and a museum, she foresaw some of the most pressing challenges facing institutions like PS1. Being modern means presenting, and possibly also marketing, contemporary art that has yet to stand the test of time. Curators are prone to the vicissitudes of passing fads, personal biases, and the politics of their interpersonal connections. Because of these challenges, it may become difficult to make value judgments that impinge on the character and brand of the institution. Yet the classical art market has become insufficient to meet the needs of the contemporary art institution. Coupled with pragmatic concerns like funding, adequate access to resources presents problems that encourage curators and museum directors to think creatively and critically about their collections, whether temporary or permanent.
The role of the contemporary art institution has become one of building bridges. Some of…
Altshuler, Bruce. "Collecting the New: A Historical Introduction." Chapter 1 in Collecting the New. Retrieved online: http://press.princeton.edu/chapters/s7980.html
The American poet and art critic John Ashbery, in what is perhaps his most famous poem ("Soonest Mended"), sketches what he has described as an "everybody's autobiography," in which his characteristically postmodern approach to narrative style (leaping from comic strip to novel to abstraction in this passage) seems to question the value of the very concept of "information":
And then there always came a time when
Happy Hooligan in his rusted green automobile
Came plowing down the course, just to make sure everything was O.K.,
Only by that time we were in another chapter and confused
About how to receive this latest piece of information.
as it information? eren't we rather acting this out
For someone else's benefit, thoughts in a mind
ith room enough and to spare for our little problems (so they began to seem),
Our daily quandary about food and the rent and bills to be…
Ashbery, John. "Soonest Mended." In Selected Poems (New York: Viking, 1987). Print.
Eco, Umberto. "The Open Work in the Visual Arts."
Huberman, Anthony. "Naive Set Theory."
In "The Berlin Key," Latour discusses the way in which simple objects can acquire suddenly "the dignity of a mediator, a social actor, an agent, an active being" through use. This is a version of aesthetics which imagines the artwork as automatically playing a role as a sort of symbolic token whose exchange value exists in transfer between artist and viewer, or between one viewer and another. Locks and keys, in Latour's view, are a construction of a social relationship rather than an expression of one. It is worth asking whether or not this new view of aesthetics -- in which what is emphasized is not so much the lone creative authority of the artist as the sociable presence of that artist, and how the art work is completed (rather than judged, apprehended, or "appreciated") by the viewer.
We can relate Latour's insight to the critique of pedagogy offered…
Midwesten Contempoay At Case Study
The pincipal poblem MCA made was the decision to put down pledges as incomes instead of actually waiting fo the money to mateialize. It was Keith's adical ambitious plans that esulted to this move and ideally led to the museum almost becoming bankuptcy. Peggy Fische was elected at the helm of the boad at the time when the museum financial soundness was in citical jeopady. Some membes of the boad thought taking legal action against the Smiths was the logical thing to do, howeve, Peggy did not agee as a suit would cetainly uin the longstanding eputation of the museum. This was especially at this time when it was epoted that Pete had been diagnosed with cance which meant that they wee facing some financial difficulties of thei own. The museum's financial situation could howeve, not go unnoticed as they would have to shut down…
Group Decision & Negotiation, 19(5), 457-477.
De Pauw, A., Venter, D., & Neethling, K. (2011). The Effect of Negotiator Creativity on Negotiation Outcomes in a Bilateral Negotiation. Creativity Research Journal, 23(1), 42-
Jochemczyk, L., & Nowak, A. (2010). Constructing a Network of Shared Agreement: A Model
Conflict Management Negotiation Midwestern Contemporary Art Case Study After eading Case
In attempting to negotiate with the Smith's, Peggy Fischer's goal was to get the couple to make good on its promise to contribute $5 million in funding to the museum in Michigan. If they did not at least contribute the full $5 million, it would be acceptable for them to contribute some of that amount, perhaps half of it or, at the very least, $1 million dollars. In considering the negotiation, the BATNA for Fischer is the fact that if she failed to persuade the couple to contribute a substantial sum of money, she could always sue them. BATNA is something of a fall-back strategy (Venter, 2009).The value of this BATNA is the fact that the museum may have an alternative to procuring the funding it needs to get its building completed. Completing the building is one of the…
Bolger, C. (2009). Using influence tactics. www.cathybolger.com. Retrieved from http://www.cathybolger.com/usetactics.html
Martin, D. (2012). Influence tactics. www.i-choose-self-improvement.com. Retrieved from http://www.i-choose-self-improvement.com/influence-tactics.html
Venter, D. (2009). BATNA explained. The Negotiation Academy. Retrieved from http://www.negotiationtraining.com.au/articles/next-best-option / http://www.i-choose-self-improvement.com/influence-tactics.html
Public Art and Public Spaces
As long as there has been art there has been public art. But this does not mean that public art has always meant the same thing to the people who made it or the community that it was made for. This paper examines four moments in history and four specific artworks as a way of examining how the function of art in public places has changed as well as the ways in which it has not changed, over the centuries. This paper begins at a moment long before many people would place the beginnings of public art - with the Paleolithic drawings on the walls in French caves and ending with the works of Maya Lin. As each moment in time presents a different form of public art, no single, overriding definition of the term will be offered here. Rather, each moment in history and…
Ucko, Peter. Paleolithic Cave Art. Chicago: University of Chicago, 1990.
reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles," Pacific Standard Time: LA/LA will initiate dialogue about the role of Chicano/a culture in the arts of Southern California throughout the past several generations. The J. Paul Getty partners with dozens of other California art institutions, galleries, and museums to develop the collection, which will not be limited to visual art but which will also include dance, music, and performance art. However, the Getty has already held two previous Pacific Standard Time events, the first of which received more than twice the amount of funding than this edition focusing on Chicano/a art. Although the LA/LA exhibition is welcome, it is also long past due and its secondary status symbolically reflects the role of Chicano/a artists within the Southern California canon, as well as the status and perception of Chicano/a culture in general.
The current exhibitions…
Baca, Judith. "The Art of the Mural." American Family. Retrieved online: http://www.pbs.org/americanfamily/mural.html
Boehm, Mike. "Getty Gives $5 Million to Plan Next PST, on Latino/Latin American Art." Los Angeles Times. 5 May, 2014. Retrieved online: http://www.latimes.com/entertainment/arts/culture/la-et-cm-getty-pacific-standard-time-latino-latin-american-art-grants-20140502-story.html
Butler, Christopher. Modernism: A Very Short Introduction. Oxford University Press, 2010.
Butler, Christopher. Postmodernism: A Very Short Introduction. Oxford University Press, 2002.
Mary Heilmann Artist
Mary Heilmann - contemporary artist
Mary Heilmann is an American contemporary artist whose works included ceramics, paintings, furniture, and works on paper. Due to her contemporary nature she became widely known during her era. Her work was welcome by not only her viewers but by her fellow artist. There are 303 Gallery that represent Heilmann in New York, and they became subject of traveling retrospective organized by the New Museum in 2008.
Mary Heilmann lived with her parent in San Francisco in 1940 before moving to southern California. She took her ceramics and poetry studies at San Francisco State College and the University of California, Berkeley, where Heimann graduated with M.A. In the year 1969 after switching from sculpture to painting. In 1986, she joined the Pat Hearn Gallery where she gained more exposure from the exhibition. From that time there has been increase in domestic and…
Yoko Ono and Her Art
Yoko Ono was born in Tokyo Japan in 1933. She came to America to study in college, and eventually made her home here. She became very influential in the artistic community in the 1960s, and her avant-garde type of artwork was very controversial but influential. She helped found the "Fluxus" group of artists, who tried to make their work different and meaningful. She works in many mediums like photography, real items (like ladders, signs, and even pieces of paper), and painting. She is probably best known for marrying John Lennon in 1969, but she worked as an artist before she met Lennon, and continues to put on art shows in galleries around the world.
The art work I have chosen is "Half a room - Hospital version" by Yoko Ono. It was completed in 1998, and is a montage photograph that was exhibited in Stockholm…
Farris, Phoebe, ed. Women Artists of Color: A Bio-Critical Sourcebook to 20th Century Artists in the Americas. Westport, CT: Greenwood Press, 1999.
Zeitz, Petra. "Remember Love in Sweden." A-I-U.net. 2004. 16 March 2005.
< http://www.a-i-u.net/remember_sweden2.html >
21st Century Art Themes
The theme for the recently completed exhibition at The Cooper Hewitt, Smithsonian Design Museum in New York City entitled Making/Breaking: New Arrivals, is innovation. Each of the pieces on display in this exhibit showcase novel concepts related to design, usage, and functionality of an assortment of objects. One of the best examples of this fact is found in Levi’s Commuter Trucker Jacket with Jacquard by Google. There are many ways in which this object is aligned with the motifs of novelty, innovation, and progress which typify the design objects in the museum’s Process Galleries. The most salient of these has to do with its functionality.
This garment is an example of the concept that function can actually belie design. What is perhaps most notable about this notion is that many have been forecasting the impact of wearable clothing in the Internet of Things. Wearables are clothes…
Harris, Jeanne; Ives, Blake; Junglas, Iris. “IT Consumerization: When Gadgets Turn Into Enterprise IT Tools.” Mis Quarterly Executive. 11(3), 99-112. 2012. Print.
Ingrand, Félix and Ghallab, Malik. “Robotics and artificial intelligence: A perspective on deliberation functions.” AI Communications. 27(1), 63-80. 2014.
Jacobson, Ivar, Spence, Ian, Ng, Pan-Wei. “Is There a Single Method for the Internet of Things?” Communications of the ACM. 60(11), 46-53. 2017. Print.
Nisar, Saima, Sheik, Osman, Wan, Rozaini. “BYOD Adoption Model Validation by Experts”. International Journal of Computer Science & Management Studies. (37)1, 1-6. 2017.
Rokni, Seyed Ali and Ghasemzadeh, Hassan. “Plug-n-Learn: Automatic Learning of Computational Algorithms in Human-Centered Internet-of-Things Applications.” DAC: Annual ACM/IEEE Design Automation Conference. 8(3), 821-826. 2016. Print.
Reddy, Srinivas and Reinartz, Werner. “Digital Transformation and Value Creation: Sea Change Ahead.” GFK-Marketing Intelligence Review. 9(1), 11-17. 2017. Print.
Modern art in the Asia-Pacific region reflects the rapidly changing geo-political landscapes, as well as becoming increasingly integrated into architecture and urban planning. In the Asia-Pacific region, the art of the 21st century can be large scale and includes ambitious installation projects as well as graphic art, graffiti, and urban art. Although influenced by European trends like abstraction and surrealism, the art of the Asia-Pacific region is dedicated to communicating a localized aesthetic. Contemporary art in the Asia-Pacific region can also be politically powerful, designed to make statements. In some cases, art has become a critical component of social justice and communications. The work of Ai Weiwei reflects the fusion of art with politics at critical junctures. In Japan and Korea, political statements were less concerned about protests against governmental institutions and more about gender and oppression in general. Throughout the 20th century, Korean art aimed to celebrate the history…
Art Culture: Public Space Art
Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections, and community-based projects among others, breaks the public's traditional understanding of art (Glahn, 2000). This critique finds that the public's totalizing classification of public sphere brings about controversy and dialogue over public art displays. By reviewing the famous public art "Tilted Arc" (1981) by Richard Serra, this analysis will show that there are distinct differences between public understanding and professional understanding of public art.
The government with the intention of exhibiting, protecting, and edifying art, commissions public art in…
"REVIEW & OUTLOOK (Editorial, b) -- Asides: Tilting with the Arc." Wall Street Journal: 1. Sep 04, 1987. ABI/INFORM Complete. Web. 21 Feb. 2013.
Doss, Erika. "Public Art Controversy: Cultural Expression and Civic Debate," Americans for the Arts, October 2006. Web. 20 Feb. 2013.
Drescher, Timothy. "The Harsh Reality: Billboard Subversion and Graffiti," Wall Power, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2000.
Fleming, Ronald Lee. "Public Art for the Public." Public Interest.159 (2005): 55-76. ABI/INFORM Complete. Web. 21 Feb. 2013.
est's art, although it is crafted is a kind of 'found' art, and his desire to demystify the process of artistic creation is yet another reason he brings the gallery owner into the process of artistic manufacturing, such as by asking the museum's director what color the Chameleon color of the walls and chairs will become, as the work moves from place to place. est classifies his fundamental artistic philosophy as along the lines of the schools of what he calls that "adaptives," which holds that "if the form is useful, then it's beautiful.
After all, in most ancient, primitive societies, art's form and function were one: a plate was not decorative, even though it might be highly crafted: the dining ware it had a purpose. est makes a similar claim about the art of today -- that it be functional as well as artistic, and art is found in…
"Exhibitions." Musee d'art contemporain de Montreal. Last update May 25, 2009. May 27,
"Franz West." Artseensoho. May 27, 2009.
Such works bring to mind Freud's theory of genital anxiety, which is present in both men and women. At the same time - and this is where Bourgeois's revolt against myth occurs - what would otherwise be seen as a fetish object for men is deployed here as a weapon instead. Thus, by subverting the feminine into a weapon, Bourgeois is simultaneously responding to the psychic myths of Western civilization and transgressing them in an effort to posit a new model of the real.
Throughout the course of his career, Anselm Kiefer has attempted to unite myth and history through an immense terrain of entangled cultural references and pictorial techniques. In doing so, Kiefer has effectively attempted to bear the weight of our collective historical tragedies and redemptive hopes that many artists in the last forty years have attempted to convey. Few of them, however, do it so effectively as…
However, on the other hand there is a concern that this theory remains as a force in art theory and that this suggests that it does have some value. Some critics are equally critical of the new pluralistic and non-hierarchical theories of art, and see these theories as "flattening out" or reducing cultural differences and achievement in a negative sense. They assert that the pluralistic and egalitarian view of art has a hidden danger it that it reduce standards and in fact threatens the very status of art. While one cannot agree with the biases and divisions that Cultural Hierarchy permits, there the possibility that this theory does hold some value. It is suggested that if the negative aspect of the theory of Cultural Hierarchy could be reduced or ameliorated, there may still be a place for it in art theory- albeit in a much altered way. The danger that…
Atlas, Caron. Cultural Policy: In the board rooms and on the streets http://www.communityarts.net/readingroom/archivefiles/2002/08/cultural_policy.php (Accessed November 17, 2007).
Critique of Mass Culture Theory. http://www.blacks.veriovps.co.uk/content/2992.html (Accessed November 17, 2007).
Introduction: the quest for cultural legitimacy. http://22.214.171.124/search?q=cache:4K45iQTyF4MJ:assets.cambridge.org/97805218/01911/excerpt/9780521801911_excerpt.pdf+%22Cultural+Hierarchy%22+in+art&hl=en&ct=clnk&cd=20&gl=zan (Accessed November 17, 2007).
Critique of Mass Culture Theory. http://www.blacks.veriovps.co.uk/content/2992.html (Accessed November 11, 2007).
Art is perceived by art, independently from the context in which it is presented. The viewer is no longer isolated in space, but must either isolate himself or allow the piece of art to modify the space in which he finds himself. We notice a radical shift of ideology. The exhibiting space no longer protects the exhibited object. It is the exhibited object which modifies the perception of the environment in which it is situated.
Looking at the trends which have been manifesting in the past years, we realize that important changes have occurred. These changes have artists either use the exhibiting space in order to enhance the message communicated by their work or to reach a large number of people, surely larger than the one they could reach by exhibiting in a classic type of gallery.
It is safe to assume that such a change has a certain impact…
O'Doherty, B., McEvilley (Intro). Inside the white cube: the ideology of the gallery space. Expanded edition, Univeristy of California Press, 2000
http://helloyoucreatives.com / http://www.artbelow.org.uk/ab/Home.action http://www.saatchionline.com / http://trendland.net
Throughout the course of history, art has been used as a form of expression and to define social customs / traditions. In some cases, this is occurring with it serving as a symbol of the larger ideas that are most important to specific ethnic groups, religions, nationalities and gender. The result, is that each work will be interpreted differently, depending upon the perspectives that are taken. This means that there are techniques which influence the way someone sees specific works and how they are interpreted. In the case of gender and Western society, there are different interpretations about what it means to be a man or woman. To fully understand what is taking place requires looking at a number of artists and their interpretations. Together, these elements will illustrate how they are influencing art and the attitudes embraced inside the different works. (Barniskis, 2013) (Malossi, 1999) (Woolfolk, 2010)
Adams, E. (2007). After the Rain. Ann Arbor, MI: Proquest.
Barnes, R. (2002). Teaching Art to Young Children. New York, NY: Springer.
Barniskis, S.C. (2013). Teaching art to teens in public libraries. Teaching Artist Journal,
11( 2), 81-96
Adorno correct in charging that "art as commodity" has no redeeming aesthetic value?
As frequently stated by Adorno, the 'aesthetic' element has failed to keep up with progresses in the art field. Ever since its expression as an area of examination, aesthetics has typically failed to achieve its goal of explaining, identifying or evaluating its object that, chiefly, continues to be art. Moreover, frequently, artists who doubted aesthetics' contribution raised the question of why some people waste their and others' time aiming at getting value judgments, not realizing that value judgments are all they ultimately receive (Bernstein, 185).
Art as a concept hesitates when it comes to getting defined, as it is traditionally an evolving collection of moments. Also, its nature can't be determined by retracing one's path to its origins, seeking a basic, initial layer reinforcing all else. The latter age romantics considered ancient art as pure and supreme.…
Adorno, Theodor W. "Aesthetic theory, trans." Robert Hullot-Kentor (Minneapolis: University of Minnesota Press, 1997) 329 (1997). Web. 31 December 2016
Bernstein, Jay M., et al. "Art and Aesthetics after Adorno." Townsend Center for the Humanities (2010). Web. 31 December 2016.
Hohendahl, Peter Uwe. The fleeting promise of art: Adorno's aesthetic theory revisited. Cornell University Press, 2013. Print.
Luncheon of the Boating Party
Pierre Auguste Renoir
Pierre-Auguste Renoir saw an abundance of beautiful things in the world and his paintings expressed a never-ending sense of joy and discovery. ith his brilliant use of natural light and color, he shows the extraordinary splendor of everyday life. A prime example of the artist's ability to capture the joy of a single moment on canvas can be seen in The Luncheon of the Boating Party. This painting depicts the carefree gathering of French revelers, having just concluded a convivial meal. Renoir recreates the beauty of the river scene with the posing of models, all friends of the artist; his use of vibrant color applied in small brush strokes to recreate natural light and a richness in texture, and his use of contrasting white with black. All these elements come together to show one of life's greatest pleasures; the joy of eating…
Rathbone, Elizabeth. "Renoir's Celebration of Luncheon of the Boating Party:" Tradition and New." Impressionist on the Seine. Washington: Counterpoint, 1996.(Monograph)
Renoir, Jean. Renoir, My Father. Boston: Little, Brown & Company, 1962. (Biography)
Genevoix, Maurice. "Why I Love Renoir." Reprinted in Daulte, Francois. Renoir, The Great
Asia and Africa in estern European Art
Globalization is generally associated as a modern phenomenon, however, it is a global movement that began with the Greeks and did not accelerate until the renaissance era. The est, going back to Alexander the Great, has a long history of interactions with Asia and Africa. Ideas and goods were consistently traded. This trend of globalization accelerated with the age of exploration in the 16th century when Europeans came into further contact with Africa, Asia, and the Americas. Driven by the quest for gold and natural resources estern European traders navigated the world. This had a profound effect back home, as Europeans developed an interest in the exotic. The interest blossomed during the 18th and 19th century, during the height of estern power and colonialism. Curiosity into the foreign permeated all levels of society. Artists incorporated Asian and African artistic styles into their…
Soltes, Ori. "They All Came to Paris." YouTube. YouTube, 11 Oct. 2011. Web. 2 Apr. 2014. .
Soltes, Ori. "Asia and Africa in the Western Mind." YouTube. YouTube, 11 Oct. 2011. Web. 2 Apr. 2014. .
Art as Political tatement
It is almost impossible to completely separate art from the social and political context in which it originates. When considering art works from a variety of contexts and situations, it is clear that artist as often as not ignored and embraced politics as either inspiration for their work, or indeed treated it as a force to be shunned for its destruction of the creative spirit. Both acceptance and defiance of the political arena, it will be shown below, constitute a form of political statement in terms of art.
Expressionism began its evolution during the early part of the 20th century. This movement contrasted with impressionism in that it did not aim to reproduce, but rather to impose its views of objects in the world. When taken from a political context then, the political agenda is not always clear, as the artist is attempting to represent…
Andre Derain." 2004. http://psych.fullerton.edu/psych466/psantiago/derbio.html
Hughes, Robert. "Henri Matisse." 2004. http://www.artchive.com/artchive/M/matisse.html
Pioch, Nicolas. "Expressionism." 2002. http://www.ibiblio.org/wm/paint/glo/expressionism/
Pioch, Nicolas. "Henri Matisse." 2004.
Roy Lichtenstein -- Stepping Out is a painting done in oil and magna on canvas by Roy Lichtenstein. (Magna is a plastic painting product made of permanent pigment ground in acrylic resen with solvents and plasticizer. This material mixes with turpentine and mineral spirits and dries rapidly with a mat finish) (www.artlex.com/ArtLex/M.html).Painted in 1978, this work is 85 inches in heighth and 70 inches in width, 218.4 cm by 177.8 cm. This work of art, accession number 1980,420, is located at The Metropolitan Museum of Art in New York (5th Avenue and 82nd Street). It was purchased in 1980 as a Lila Acheson Wallace Gift with additional funding through the Arthur Hoppock Hearn Fund, the Arthur Lejwa Fund, in honor of Jean Arp; the ernhill Fund, the Joseph H. Hazen Foundation Inc., the Samuel I. Newhouse Foundation Inc., and gifts fromWalter areiss, Marie annon McHenry, Louise Smith, and…
Fineberg, Jonathan. Art Since 1940: Strategies of Being. 2nd Edition. New York:Harry N. Abrams, Inc., Publishers, 2000.
A www.artcyclopedia.com/artists/lichtenstein_roy.html www.artlex.com/ArtLex/M.html www.nga.gov/cgi-bin/pbio?224210 www.metmuseum.org/collections
Art During Renaissance
The Evolution of Art During the Renaissance
The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (rotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a reawakening or rebirth of historic and ancient traditions based on the classical antiquity and the inclusion of more recent developments by applications of contemporary scientific knowledge.
The Renaissance was seen as a bridge between the Middle Ages and the modern era. The period also marked a cognitive shift from religious perspectives to a more intellectual and social focus. Classical texts previously lost to European scholars became readily available and included science, drama, poetry, prose, philosophy, and new considerations…
Acidini, Luchinat Cristina. The Medici, Michelangelo, & the Art of Late Renaissance Florence. New Haven: Yale UP in Association with the Detroit Institute of Arts, 2002. Print.
Adams, Laurie. Italian Renaissance Art. Boulder, CO: Westview, 2001. Print.
Barter, James. Artists of the Renaissance. San Diego, CA: Lucent, 1999. Print.
Bartlett, Kenneth. The Civilization of the Italian Renaissance. Toronto D.C.
Art of classical antiquity, in the ancient cultures of Greece and ome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and ome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and ome reverberated throughout history, impacting the art of subsequent eras in Europe. In fact, there can be no absolute "neoclassical" era in art history because of the way neoclassicism evolved throughout the centuries since the fall of the oman Empire. The arts of the enaissance borrowed heavily from classical antiquity, as can be seen in enaissance icons such as Michelangelo's David. Some suggest that medieval art pays homage to classical antiquity, even if the quotations from classical Greek and ome are…
Castelijn, D. (2012). The Influence of Classical Antiquity on the Renaissance. Oxford Department for Continuing Education. Retrieved online: http://www.conted.ox.ac.uk/courses/details.php?id=V350-130#pagetop
"Classical Antiquity in the Middle Ages," (n.d.). The Metropolitan Museum of Art. Retrieved online: http://www.metmuseum.org/toah/hd/anti/hd_anti.htm
"Greek Art," (n.d.). Retrieved online: http://www.ancient-greece.org/art.html
"Jacques-Louis David," (n.d.). Retrieved online: http://www.jacqueslouisdavid.org/
The "self-portraits" might perhaps be viewed in terms of the artist's own past illnesses: At 37, Taylor-Woods, having already survived both colon cancer and breast cancer, likely understands, on personal level, the state of "suspense" between sickness and health, life and death. he may, then, have been "bound" to breast cancer (the invisible ropes may symbolize the disease), cured of it, and her body "released to freedom." In my opinion, however, an artistic weakness of these pictures is that their esthetics and size make them look less like serious art than fashion advertisements for bras and panties! For me, "elf-Portrait uspended" is the least effective of the three exhibition subjects. The tension in the subject's body also appears to be that of someone hanging from ropes (which she in fact was); the tautness of her body kept me from "suspending my disbelief" (so to speak) that she was hanging in…
Sam Taylor-Wood: New Work: 29 October - 4 December 2004. Retrieved January 5, 2005 from http:www.artshole.co.uk/exhibitions/Oct%2005/Sam%TaylorWood htm>.
Sam Taylor-Wood: 'New Work' Art Exhibition at White Cube." Ballet-Dance
Magazine. Retrieved January 4, 2005 from http://www.ballet-dance.com/200412/articles/TaylorWood20041100.html
Splashes of color like red and several shades of blue are added to the collage in a "dragonfly, wing-like" formation. A cutout photograph of a boy is pasted on the "wing" of a lighter shade of blue, perhaps to note a sense of calm to his surroundings.
The Hawkins' exhibit will consist of 80 objects, a retrospective of his nearly a quarter of a century career. The work is described as "at its core, about the pleasure of intense looking." Third mind is described as referring to another piece of Hawkins' work, "ichard Hawkins: Of two minds simultaneously," which means to be undecided, uncertain or unsure, the description states. Hawkins is aware of the duplicity that this body of work creates, which is stated to be intentional.
The Art Institute of Chicago was founded in 1879 as a school and museum. The museum holds art from African-American artists to silk…
1. The Art Institute of Chicago. "The Art Institute of Chicago: Exhibitions." 2 December 2010 the Art Institute of Chicago 2010. .
2. The Art Institute of Chicago. "The Art Institute of Chicago: Exhibitions." 2 December 2010. The Art Institute of Chicago 2010. .
3. George Eastman House. "Current Exhibitions • George Eastman House." 2 December 2010. George Eastman House 2000-2010. .
4. George Eastman House. "Photographs by Jessica Lange • George Eastman House." 2 December 2010. George Eastman House 2000-2010. .
It would have been as ridiculous for a working class man or woman to make art as it would have for that same person to become an accountant. Still, artists throughout time have snuck in their personal values in their paintings. Hieronymous Bosch is one of the artists I believe to have inserted personal values into Church-commissioned art.
Even in the modern era, art is still entwined with money. The artist needs to live, sure. But that is not the only connection between art and money. Art galleries exist because art has become big money. Art symbolizes wealth. No ordinary person can afford "real" art. Ordinary people purchase prints and reproductions, not original pieces by known or up-and-coming artists.
Art is like any other commodity now, for better or for worse. Artists have a greater chance than ever of making a viable living, given the plethora of opportunities in graphic…
Art Analysis: Art21
After reviewing the artists from Art21, the artists chosen are Pierre Huyghe and AI Weiwei as the subjects of this paper. The pieces the paper will be "This is not a time for dreaming" by Huyghe and "Forever" by Weiwei. Both pieces are installation pieces although the artists are not classified under the same grouping on the Art21 website. Weiwei is listed as "Featured in Change" and Huyghe is listed as "Featured in omance." Though they are not featured or classified in the same group, their respective groups are related. There are several different kinds of people in the world for whom change is romantic. Weiwei is a renowned activist as well as renowned artists. Artists typically have a deep passion within that they express via their art. Therefore, Weiwei could see the connection between romance and change. For the native Parisian Huyghe, romance may very well…
Art21, Inc. (2012) Explore Artists. Available from: http://www.pbs.org/art21/artists . 2012 July 10.
European Graduate School. (2012) Pierre Huyghe -- Biography. Available from: http://www.egs.edu/faculty/pierre-huyghe/biography/ . 2012 July 11.
Wines, Michael. (2009) Ai Weiwei, China's Impolitic Artist. The New York Times, Available from: http://www.nytimes.com/2009/11/28/world/asia/28weiwei.html?pagewanted=all . 2012 July 12.
Pierre Huyghe, "This is not a time for dreaming," 2004.
I wonder if that is how he really did it.
I know the author was trying to make a point about life and death, but this work also reminds me of something that would happen during religious persecution or a war. It seems like the winner might walk around with a trophy like this, which is pretty disgusting. The piece shows the contrast between good and evil and death and life, and it is very strong and realistic. The artist used different metals to show the different stages, and hung the heads together to show that we are all equal in death. I think that this is an important piece of artwork, but I'm not really that fond of it, and I would rather find something else to view that is more pleasing and nice to look at. This is too dark and frightening to look at or think about…
Music and Art
Tunga (at the Light of Both Worlds)" is a mixed media kind of sculpture work created in 2005 by the artist from Brazil named Tunga. This work is kind of a sculpture suspended from the ceiling, with many different heads and skulls hanging from metal wire and metal canes. It is disturbing to look at because it seems to represent death and evil, and it is dark and scary-looking. It reminds me of something that you would see at a Halloween party or event, because it has that look of fright and fear about it, and it makes the person looking at it emotional and a little frightened. I think that this is a work of art, and I can see why it is on exhibit in a museum, but it is not something I would want to have in my house or near me, it is too morbid and scary to keep around all the time. I also think that it is very realistic, and it almost looks like the sculptor used real skills and heads to model the metals ones in this piece. I wonder if that is how he really did it.
I know the author was trying to make a point about life and death, but this work also reminds me of something that would happen during religious persecution or a war. It seems like the winner might walk around with a trophy like this, which is pretty disgusting. The piece shows the contrast between good and evil and death and life, and it is very strong and realistic. The artist used different metals to show the different stages, and hung the heads together to show that we are all equal in death. I think that this is an important piece of artwork, but I'm not really that fond of it, and I would rather find something else to view that is more pleasing and nice to look at. This is too dark and frightening to look at or think about too much, and I think that if children saw it, they might think it was "cool," but it might give them bad dreams, too.
Laid on its side, auschenberg's "Bed" contains the same visual and tangible objects as a real bed. "Bed" seems like more than a representation of a bed; it could just as well be one especially given the use of actual bedding.
The expansion of the visual plane and the reworking of the canvas paralleled expansions of consciousness. Those transformations in consciousness and their impact on the art world were a result of historical and social change. During the 1950s when auschenberg worked, technology was growing in its relevance to the global economy. Advancements in science included quantum mechanics and theoretical physics. Medical marvels abounded. Culture was becoming less homogenous as the spread of ideas flowed across borders. Human sexuality and sexual freedom were also growing more liberated. Gender roles were changing and so were global political norms. Within the exciting environment of the 20th century arose conceptual transformations in the…
Rauschenberg, R. (1955). "Bed."
Steinberg, L. "Other Criteria." Oxford University Press, 1972.
French omantic painter, Eugene Delacroix, is well-known from this period. Delacroix often took his subjects from literature but added much more by using color to create an effect of pure energy and emotion that he compared to music. He also showed that paintings can be done about present-day historical events, not just those in the past (Wood, 217). He was at home with styles such as pen, watercolor, pastel, and oil. He was also skillful in lithography, a new graphic process popular with the omantics. His illustrations of a French edition of Goethe's "Faust" and Shakespeare's "Hamlet" still stand as the finest examples in that medium.
Delacroix' painting "Massacre at Chios" is precisely detailed, but the action is so violent and the composition so dynamic that the effect is very disturbing (Janson, 678). With great vividness of color and strong emotion he pictured an incident in which 20,000 Greeks were…
Art: A World History. New York: DK Publishing, 1997.
Eysteinsson, Astradur. The Concept of Modernism. Ithaca, NY: Cornell UP, 1992
Gardner, Helen. Art through the Ages. New York: Harcourt, Brace: 1959.
Hoving, Thomas. Art. Foster City, CA: IDG, 1999.
In this regard, Nead notes that because she was an art lover, Richardson experienced a moral dilemma in her decision to attack "The Rokeby Venus," but she felt compelled to do so anyway based on her perception that the government was failing to act responsibility towards women in general and the suffragettes in particular. "In her statement during her trial, Richardson appears calm and articulate and nothing is said explicitly about any objections that she might have had to a female nude. Indeed, it was not until an interview given in 1952 that Richardson gave an additional reason for choosing the Velazquez: 'I didn't like the way men visitors to the gallery gaped at it all day'" (emphasis added) (Nead 36).
Figure 1. Velazquez, The Rokeby Venus.
Source: The Social Construction of Gender, 2006.
According to Mann (2002), functionalism could help explain the attack by Richardson on "The Rokeby…
Bartley, Paula. (2003). "Emmeline Pankhurst: Paula Bartley Reappraises the Role of the Leader of the Suffragettes." History Review, 41.
Damon-Moore, Helen. Magazines for the Millions: Gender and Commerce in the Ladies' Home Journal and the Saturday Evening Post, 1880-1910. Albany, NY: State University of New York Press, 1994.
Harris-Frankfort, Enriqueta. "Velazquez, Diego." Encyclopedia Britannica. 2006. Encyclopedia Britannica Premium Service. 31 May 2006 http://www.britannica.com/eb/article-222892 .
Mallory, Nina Ayala. El Greco to Murillo: Spanish Painting in the Golden Age, 1556-1700. New York: HarperCollins, 1990.
Art movement DADA
The phenomenon Dada is notoriously difficult to describe; some critics hesitate even to use the term "movement." Focusing on Dadaists' reflections about the phenomenon itself, we will try to delineate a general image of the Dada in the context of the European avant-gardes of the 20-th century. e will also try to analyze the historical and political context inside which the dada phenomenon occurred. Our main focus will be on two main tenets of Dadaism: the "self-critical" feature of Dada's self-image as it emerges during the main phases of its history, especially during its early phase, and the political commitment of Dada during its last phases of development.
Dada "artworks" were usually conceived as all-in-one theatrical performances, art happenings, counting music, dance, poems, theory, costumes, as well as paintings. Jangling keys, gymnastic exercises called noir cacadou, and screaming presentations of sound poetry or other texts accompanied these…
Benjamin, Walter. The Work of Art in the Age of Its Technological Reproductibility and Other Writings on Media. Eds. M. Jennings, B. Doherty, T.Y. Levin. Cambridge, Mass.: Harvard University Press, 2008: pp.34-45
Caws, Mary Ann. The Poetry of Dada and Surrealism: Aragon, Breton, Tzara, Eluard and Desnos. Princeton: Princeton University Press, 2000: pp.12-34.
Dachy, Marc. The Dada Movement, 1915 -- 1923. New York: Rizzoli, 1990: pp.56-78
Hugnet, Georges. Dada. In: The Bulletin of the Museum of Modern Art. vol. 4, no. 2/3, 2006: pp. 3-18.
In essence, this painting "mixes a toothpaste smile with the grimace of a death's head" and symbolizes the true work of an American "action" painter (de la Croix & Tansey, 774).
Another great example of an American abstract expressionist master is Mark Rothko (1903 to 1973), who emigrated to the United States in 1914 from Latvia with his family to escape Czarist Russia and its strict policies towards Jews. Although Rothko was a friend and contemporary of Pollack, Kline and de Kooning, his paintings exhibit none of the aggressive attack or slashing brushwork one finds in the works of these artists. Rothko's Four Darks on Red does not exhibit the usual traits of "action" painting, for it shows a calm and contemplative mood with soft color variations, yet it also shows "a mysterious effect of forms and images occupying an ambiguously-defined space," much like Kline and Pollack (de la Croix…
Paul, Stella. "Abstract Expressionism." Metropolitan Museum of Art. Internet. Retrieved at http://www.metmuseum.org/TOAH/hd/abex/hd_abex.htm .
De la Croix, Horst and Richard G. Tansey, eds. Gardner's Art Through the Ages. 10th ed. New York: Harcourt, Brace, Jovanovich, 2003.
On the other hand there is another side to the vision of human life. There is the experience of human joy and happiness that also has to be taken into account. We find this side in works that resonate with color, joy conviviality and friendship. In this exhibition works by Renoir and Picasso have been selected to show this side of the human condition. In this context the famous painting by Renoir entitled, the Luncheon of the Boating Party portrays a very different sense of the human condition compared to that of Bacon. We also this sense of the gentleness and beauty of human life in Picasso's the Bathers.
Another artist who has much to say about the human condition is Giacometti. This famous sculptor portrays human being in terms existential searching and mystery. His sculptures refuse to comment directly on the human condition but leave us with a sense…
6. Picasso; "The bathers" ( 1918). Oil on canvas.
7. Giacometti: Standing Woman, bronze, 1959.
Critique of Surreal and Post-Impressionist Works of Art
Dali's Autumn Cannibalism (1936) http://arthistory.about.com/od/from_exhibitions/ig/dali_retrospective/dali_pma_05_07.htm
Salvador Dali is one of the great and mercurial figures in art history. The surrealistic Spanish painter was influenced heavily by the tumultuous period of history in which he lived and by the haunting images in his own psyche. Both are on dramatic display in the 1936 piece, "Autumn Cannibalism." Here, Dali paints a depiction of the military conflict tearing his motherland apart from within, offering us this terrifying rendering of civil war as seen through the eyes of one consumed by it.
In the confrontation between the social commentary and the internal reflection that comprise this piece, Dali creates a piece that is decidedly representative of the surrealist movement both in aesthetic and motif. In spite of Dali's incredible influence, surrealism was ultimately a short-lived movement, leaving its impression on the art world through…
Although these three artists come from different backgrounds and focus on creating works of art that address particular publics, they provide an overall contribution to students' experience while in the Art Now course.
Espezel's discussion regarding art extended to the relationship between a series of elements that the artist disposes of at the moment when he or she creates. An individual needs to focus on successfully combining his or her experience, the materials that he or she uses, and innovative concepts that he or she is interested in expressing through his or her artwork. She speaks about how it is important for the individual to focus on his or her background and on his or her personal experiences in creating art that is as unique and as intriguing as possible.
Faye HeavyShield's is probable to have influenced her overall style and her position in regard to art. Even with that,…
We are a company at the head of the fashion industry. Our image is crucial to our success. The appearance, the environment, the overall decor, and the ambiance of our office space is what sends the first messages to our clients. If we expect consumers to value their appearance, then it is up to us to be role models for fashion sense and sensibility.
Therefore, I propose the installation of six major works of art in our corporate office space. Each of these six works of art is carefully selected because it reflects the vibe and mission of our company. The colors, the tone, and the style of the artwork matches our corporate vision. In this memorandum, I will list and describe the six works of art, telling you why these pieces reflect our image.
Camille Pissarro's "Apple Tree at Eragny"
This richly textured painting conveys a sense…
The Metropolitan Museum of Art (2011). Impressionism: Art and Modernity. Retrieved online: http://www.metmuseum.org/toah/hd/imml/hd_imml.htm
Pioch, N. (2006). Impressionism. Retrieved online: http://www.ibiblio.org/wm/paint/glo/impressionism/
"Welcome to Impressionism," (n.d.). Retrieved online: http://www.impressionism.org/
ather, the vines and clusters f grapes on the tree give the piece its true softness and roundness. This is mirrored by the effect of the figures' hair. Both faun and children all possess curling flowing ringlets that seem to hang as loosely as do the grapes, emphasizing a sense of liberty in the work.
The sense of softness and liberty bestowed upon the piece by the line and texture is oddly juxtaposed with the impressions created by other elements of Bacchanal: A Faun Teased by Children. Most obviously, the piece is composed in a way that makes the faun's posture seem unnaturally contorted, as if the scene has moved beyond teasing and into torment. The extreme angle of the head and neck, especially with the backwards-arcing back, evince more of a struggle to get away than the softer elements of the sculpture suggest. The same is true of the…
Delbeke, M., Levy, E., and Ostrow, S. Bernini's Biographies. University Park, PA: Pennsylvania State University Press, 2006.
Metropolitan Museum of Art Works of Art Index. "Bacchanal: A Faun Teased by Children," Metropolitan Museum of Art. http://www.metmuseum.org/toah/ho/09/eusts/ho_1976.92.htm
Montagu, J. Roman Baroque Sculpture. Hong Kong: Yale University Press, 1989.
Metropolitan Museum of Art Works of Art Index, "Bacchanal: A Faun Teased by Children," Metropolitan Museum of Art.
The function of the work of art would be to stand before the city, and to show the city as wisdom personified, and by implication show that the wisdom came from the works and power of the Medici. It would make an analogy between the city-state of Florence and the ancient city-state of Athens. Because Athens was a genuine republic, it might even deflect some criticism from the Medicis, who were technically supposed to be residents of a republic, even though they ruled from behind the scenes. The setting of the sculpture, next to David, outside the city gates would act as a powerful warning of the city's power (with the violence of the anvil and David's shotgun) as well as strike a balance between Classical representations of learning and the still-important tenants of the Catholic faith that must be honored in a world still dominated by the clergy.
Essak, Shelly. "Art History 101 - Early Renaissance Art." 2007. 20 Apr 2007. http://arthistory.about.com/cs/arthistory10one/a/early_ren.htm
Medici: Godfathers of the Renaissance." PBS.com. 2007. 20 Apr 2007. http://www.pbs.org/empires/medici/medici/snapshots.html
Pioch, Nicolas. "La Renaissance: Italy." Web Museum Paris. 2002. 20 Apr 2007. http://www.ibiblio.org/wm/paint/glo/renaissance/it.html
Renaissance Masterworks from the National Gallery of Art." National Gallery: Washington, D.C. 20 Apr 2007. http://www.nga.gov/press/2003/exhibitions/211/background.shtm
My letters to my brother Theo often touch upon this theme."
Q: hat was your relationship like in Arles?
Gaugin: "I would say that Vincent definitely needed me more than I needed him. Vincent was always looking for a friend, you know -- a kindred spirit. His brother Theo was sympathetic but separate from him. In me he found someone who shared his passion for art and who understood what he was trying to accomplish. But Vincent was unstable and our relationship was often frustrated by his inability to reconcile himself to the artist's lonely lot. I, certainly, was more comfortable being a loner."
Van Gogh: "My sojourn in Arles in a rented yellow house, which I depicted on canvas in my typically thickly-applied, brightly colored 1888 painting, would end in a kind of portentous delirium. Gauguin's stay and my increasing reliance upon the Frenchman proved a misstep. Gauguin's insufferable…
Gayford, M. The Yellow House. NY: Houghton Mifflin Harcourt, 2008. Print.
Johnson, Paul. Art: A New History. New York, NY: HarperCollins, 2003. Print.
Kyziridis, T. "Notes on the History of Schizophrenia." 2005. Web.
Not immediately recognized for his contribution to the visual art world, William Blake is perhaps better known for his poetry. However, the Englishman received formal training in drawing and was officially apprenticed to an engraver in London in the late eighteenth century. Blake's interest in metaphysics is apparent in all his productions, especially in allegorical pieces based on the Old Testament like his "Nebuchadnezzar," (completed in 1795). Blake's color print, finished in pen and watercolor, is a typical example of the artist's chosen media; he rejected oil paints. Like all art classified as Romantic, "Nebuchadnezzar" is intensely individualistic and introspective. Blake's preoccupation with symbolism and esoterica is apparent in the subject matter as well as its execution. Drawing upon the Biblical allegory of a headstrong king who dreams (and later realizes) that his mind degenerates into that of a beast, Blake visually interprets the book of Daniel. "Nebuchadnezzar,"…
The Renaissance was more than a "re-birth," it was something new and exciting - the ideas and outlooks represented by Titian and the leading lights of his time have continued to shape estern Civilization and the world, helping to create a culture in which we are all - "open-minded and free to take up quarters in an open world."
It is for these reasons and others that Venus and Adonis is the subject of this paper. Titian's captivating painting style, mastery of technique, color, and movement, instantly attract the viewer to the artwork. The subject matter, too, is appealing and compelling. As it did centuries ago, it does today - it tells a story and imparts a lesson. Yet, Titian's work can be instructive eon a thousand different levels. The master's art speaks to the motions, and makes each of us think about what is happening on the canvas;…
Cole, Bruce. Titian and Venetian Painting, 1450-1590. Boulder, CO: Westview Press, 1999.
Elkins, James. What Painting Is: How to Think about Oil Painting, Using the Language of Alchemy. New York: Routledge, 2000.
According to Henry a. Millon, the sparkling gaiety of this style "was cultivated by a new age associated with the regency that followed upon the death of Louis XIV and then with the reign of Louis XV," meaning that these two French kings and their opulent lifestyles highly influenced the art that came about during the beginning and middle years of the 18th century in Europe (156).
Essentially, the Rococo is an interior style or, in other words, pertains mostly to the decoration of objects designed for the interior of palaces and royal residencies. As compared to the art of the aroque Era, that of the Rococo style is far removed from religious and national influences. Architecturally, one of the best examples of the Rococo style can be found in the Rococo room of the Salon de la Princesse at the Hotel de Soubise in Paris, decorated by Germain offrand…
Millon, Henry a. Baroque and Rococo Architecture and Art. New York: Doubleday, 1975.
Tapie, Victor L. The Age of Grandeur: Baroque Art and Architecture. New York: Phadeon Books, 1966.
Ever since fashion has evolved, we have an observed a significant relationship with art and fashion. It is seen that both the disciplines encourages, inspires and somewhat competes with each other. (Duggan, 2001) It is observed that artists and fashion designers creativity is exchangeable and their main objective is somewhat the same. Duggan (2001) also emphasized on the role of media and education in blurring up the boundaries between art and fashion. As we observe, just like art changes throughout the time, fashion change with time as well. Just as the atmosphere around a certain place changes, so does the fashion of that time. With technology becoming really prevalent these days, techno Fashion has emerged out as the new thing.
Fashion designers are therefore looking into the possibility of Techno fashion. This is basically the ability to incorporate tech item into the clothes a person is wearing. The…
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1983.
Bhabha, Homi. "DissemiNation: Time, Narrative, and the Margins of the Modern Nation." Nation and Narration: 291-322. 1990.
Bhabha, Homi. The location of culture. London: Routledge Press, 1994.
Craik, Jenny. "The face of fashion: Cultural studies in fashion." London: Routledge, 1993.
Art Interpretation India & Letter
INDIA 2011 & THE LETTER TO OTTAWA
It's hard not to connect with the commonality of these two pieces: they are both comments and complaints. They each reflect what could be but what is not; perhaps what used to be but is no longer. It is difficult to tell if they reflect anger or disappointment or are just a call to make sure things get better. There is no doubt that each reflects some reach out for action.
The story of my experiment with truth. Erik Olsen tells me of his uncertainty of the results of this piece alongside the ways that he presents the perfect, the medicinal, the successful and the ideal. Yet the way he does it is with a presentation of opposites of a sort in a way that it cannot really be clear what he thinks. It is an…
The highlights on the victim and his hat, and the woman add interest and detail to the work.
This painting has extremely rich texture and pattern. Many of the details are intricate, and they make the painting come alive. The detail in the clothing makes it come alive, and it seems to have texture that the viewer could touch. The patterns of the fabric and the entire scene are quite vibrant too, and the give an overall feelings of depth and space that seems almost 3-D. The artist uses shading and shadow to create depth too, and it gives the effect of real fabric draped around the servant's head and in the tunic and feather on the hat of the victim. The texture of the four people's skin seems almost like porcelain and contrasts with the texture of the fabric they are wearing.
The clothing indicates this painting was painted…
Hubbard, Guy. "Clip & Save Art Notes." Arts & Activities Sept. 2002: 34+.
La Tour, Georges de. "The Cheat with the Ace of Clubs." Kimball Art Museum. 2006. 25 Sept. 2006. http://www.kimbellart.org/database/index.cfm?detail=yes&ID=AP%201981.06
The traditional estern woman would not wear the mark of the warrior, the war paint, or other decorative markings. but, in the idealized world of the advertisement, a woman can as well be a warrior for a cause, as man a soldier for that in which he believes. As well, gender is used to contrast the softness and over-refinement of a highly technological and industrial world with the rigors of everyday life in the African environment. Here also, the message is that traditional gender roles must be abandoned if we are to become one; if we are to recognize our genuine and universal heritage. This heritage is symbolized by the naked purity of the African tope.
An Ideological Description:
Beyond its gendered and Eurocentric vs. Afrocentric text, the advertisement carries a very powerful subtext about the need for all of us to recognize our "Africanness." Gwyneth Paltrow is a estern…
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This is a form of art that is found in all religions and it presents a concrete and a tangible image that they are told is their god and they end up worshiping the image, a product of art. Due to this urge to have a tangible item to refer to as god, each religion has the image of the supreme divine being that cannot be replaced with any other, if not the supreme divine being, then there must be an artistic representation of the representative of the supreme divine being that is universally accepted by all the members of that particular religion.
In the initial years and the middle ages, the images and pieces of art that represented the deities had strict qualities but during the renaissance some of these qualities were lost as the painters gave the images more qualities of divine inspiration with an aim of making…
Chris Adams, (2006). Art and Religion. Retrieved March 5, 2012 from http://www.italianfuturism.org/manifestos/art-and-religion/
Jali Inc., (2006). PIETRO PERUGINO: Painter (1446-1523). Retrieved March 5, 2012 from http://www.artist-biography.info/artist/pietro_perugino/
The Minneapolis Institute of Arts, (2012). World Religions in Art. Retrieved March 5, 2012 from http://www.artsmia.org/world-religions/
Colin owe and Fred Koetter argued in Collage City that the designer should intervene in the existing city by adding to and adjusting what is already there, a process more like collage than any other art form. (Barnett, 1996, p. 185)
The city as "collage" is possibly the finest metaphor for the urban world. Nowhere else do so many different people and purposes come together as in the city. No other place cries out so much for art, and is itself, an inspiration to create art. The realization that cities are living entities has initiated a renewed interest in the preservation and development of their respective parts. So much of Modernist Theory favored the abandonment of the past. It was as if we were all residents of some totally new age that bore virtually no relation to any past era. Were we born long ago and teleported to our present…
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Five years from now, you chat with a friend about your favorite humanities class (this one, naturally). What were your favorite artworks encountered throughout the course that you will share with them? Why?
"The Persistence of Memory" by Salvador Dali.
This is a painting by Catalonian-Spanish surrealist Dali. I could choose anything that Dali does to describe my favorite artwork, because I greatly admire his ability to create imagery and symbolism that blends nature with the supernatural. This painting is like a dream. There are elements of reality inside the painting, such as the watches and clocks, the landscape in the background, and the tree. However, there are also elements of the painting that are clearly unreal, such as the clocks melting. Dali is not too concerned about the accuracy of representation, as the perspective of the painting is wrong in terms of depth of field. However, the artist…
Art of Nursing According to Virginia Henderson
Virginia Henderson has tremendously helped to bring a new perspective of the art of nursing. For this reason, her biographical sketch together with educational and professional details earned her the name the Modern-day Mother of nursing and the Nightingale of modern nursing. Virginia Henderson's theory was a major stride in the field of nursing and in the art of nursing. The theory has also been used by the theorist to come up with another definition of nursing. The art of nursing according to Virginia Henderson has had major implication on nursing and is of relevance to the current nursing practices. This paper will give a biographical sketch of Virginia Henderson. In addition to this her educational and professional overview will be analyzed also. Henderson's theory and its applications will then be reviewed where the four major concepts constituting it will be looked at.…
Henderson, V. (1955). Harmer and Henderson's Textbook of the principles and practice of nursing. New York: Macmillan
Henderson, V. (1956). Research in nursing practice: when? Nursing research, 4 (3), 99
Henderson, V. (1960). International council of nurses basic principles of nursing care ICN,
Art of the Invisible: Listening Responses
Radio as Storytelling
Like all artistic media, there are subtle and unique elements to radio which distinguish it from other forms such as the written word, TV or film. Nowhere must the radio producer be more cognizant of the uniqueness of radio than in the radio documentary. The most intriguing of this week's listening was Rudolph Arnheim's piece "In Praise of Blindness." He disputes the idea that radio should help the mind to form visual images. Instead, the entire appeal of radio is that despite a common listening experience each listener creates an entirely independent experience in their mind's eye. This is a unique feature of radio that some forms such as writing have to a lesser extent and which contemporary forms such as TV and film entirely lack. Television instead compels all its consumers to experience both the same audio and visual experience…
A romanticism that was rooted in the legendary European past served well to bring comfort and a sense of place in space and time to people who might otherwise have felt rootless and adrift. In its eclecticism the Richardsonian Romanesque house gave visible expression to the deepest needs and of an age.
Gowans, Alan. Styles and Types of North American Architecture: Social Function and Cultural Expression. New York: Icon Editions, 1993.
Roth, Leland M., ed. America Builds: Source Docs in American Architecture and Planning. New York: Harper & Row, 1983.
Roth, Leland M. A Concise History of American Architecture. Boulder, CO: estview Press, 1980.
Roth, Leland M. Understanding Architecture Its Elements, History, and Meaning. 1st ed. Boulder, CO: estview Press, 1993.
Alan Gowans, Styles and Types of North American Architecture: Social Function and Cultural Expression (New York: Icon Editions,…
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(athus) (Day) ("Susan Elliot")
Clearly, the five different works are illustrating how the art of the 21st century is taking the techniques of the past and they are incorporating them with contemporary beliefs. The way that this is occurring is through using classical themes and approaches to set the mood of each piece of art. Then, it is building upon them by taking modern day issues and highlighting the importance of them.
Once this takes place, is the point that these beliefs will become a part of the message that the artist is sending to the viewer. This is when they will have a greater understanding of these ideas and will be motivated to take action. As a result, 21st century art is illustrating how these images are influencing everyone.
"Cathe Hendrick." Cathe Hendrick, 2012. Web. 27 Nov. 2012
"David Hatton." David Hatton, 2012. Web. 27 Nov. 2012…
"Cathe Hendrick." Cathe Hendrick, 2012. Web. 27 Nov. 2012
"David Hatton." David Hatton, 2012. Web. 27 Nov. 2012
"Igal Fedida." Igal Fedida, 2012. Web. 27 Nov. 2012 < http://igalfedida.com/index.php >
"Marianne Monnoye -- Termeer." Marianne Monnoye -- Termeer, 2012. Web. 27 Nov. 2012
Detroit Institute of Arts is located on Woodward Avenue, at 5200, in Detroit Michigan. The Institute is open to the public from 9am to 4 pm, on Tuesday, Wednesday and Thursday, from 9am to 10 pm, on ridays, and from 10 am to 5 pm, on Sundays. According to the museum's website, tickets for the general admission cost 8$ / person for adults, 6$ / person for seniors, 4$ / person for youth (6-17) and 5$/person for college students. Admission is free for those under 5. ree general admission is also provided for residents of the city of Detroit, each riday, and for everyone, on the second Sunday of each month. The museum's original building, designed by the architect Philippe Cret at the beginning of the 1920s and opened to the public in 1926, has suffered transformations throughout the years, through additions and alterations, but its Italian-Renaissance is still impressive…
For food and beverages there are CafeDIA and Cresge Court Coffe Shop that are available for those who want to take a break, find a meeting place or rest and enjoy a cup of coffee and a bite before immersing in the world of art again.
A visit at the Detroit Institute of Arts is overall a pleasant way of spending some time in the world of art, be it in the company of ancient, classical, modern or contemporary art or in pursuit of learning more about techniques, artists and their works of art or about how to become an artist. The stuff is helpful and knowledgeable and someone will always help you find your way around.
Detroit Institute of Arts, http://www.dia.org /, ©2013 Detroit Institute of Arts
Christies School of Art
Studying art at Christie's School of Art in New York would be a dream come true. First of all, to study art in New York -- one of the most important cities in the art world -- would create major opportunities for me while studying and after my studies are finished. Not only would I get a great education at Christies, but being in New York where there are so many world-renowned museums like the MOMA and the Guggenheim would offer me the opportunity to expand my knowledge of contemporary art outside of the classroom environment. Not only is New York the home to prestigious museums, but I am excited to explore the burgeoning art galleries in places outside of Manhattan -- specifically in Brooklyn and Queens. I feel that there is a lot one can learn about art by getting a glimpse inside the art…
A Comparative Discussion of Modern Art Museums
The Modern Museum of Art (MoMA) in New York City and Tate Modern in London have a number of major features in common that help to define the visitor's experience. Perhaps most importantly, both are considered among the most important collections in the world and both institutions are highly regarded not just for their conservation of art but for the usability of their facilities and the considerable educational, informational, cultural and recreational resources contained there within. hat strikes one as most compelling about both collections is that they trace their respective origins to the efforts of extremely wealthy philanthropists but that each offers a collection rife with examples of resistance, protest and rejection of established values. Indeed, this is perhaps the most unifying condition defining modern art in evidence at both sites.
Founded and overseen by members of the Rockafeller family, the…
Modern Museum of Art. (2013). Homepage. Moma.org.
Tate Modern (2013). Homepage. http://www.tate.org.uk .
Rather than seeking to emulate an ideal, they sought instead to cobble together influences, styles, and techniques from a range of different traditions. Relying on what others have created without actually valuing those creations on their own merits is not respectful of either tradition or innovation.
The result was a hodge-podge of aesthetics that is not without merit, but that is criticized now (and for quite a time) for not having a clear focus. annerist artists neither venerated the past nor sought to create an entirely new way of seeing. They often did incorporate fantastical subjects and twisted the forms of both of these creatures and of human subjects into sinewy shapes. The effect was not so much dreamlike (or even nightmarish) but distorted.
Even as annerist artists borrowed freely from other traditions and so seemed to devalue the worth of innovation and the allure of the new, they did…
Modern art in general has had a much more positive regard for the innovative and new. The reasons for this are complicated but may reflect consequences that have arose since the Industrial Revolution. Industrialization brought about two important trends that affected the ways in which artists interact with and feel about the new. Industrialization made constant innovation a social good in a way that had never been true before. The fact that new technologies made it easier and easier to create novel objects in the commercial world bled over to a push toward the innovative in art.
The early phases of Modernist art played directly with the ideas of how technology and art intersected with each other and how the new era of the machine made it more difficult to create work that was based on the past. The machine changed everything and made it imperative for artists to re-evaluate what it meant to be an artist at all. Daumier's 1862 Nadar Elevating Photography to the Height of Art is an ironic visual exploration of the ways in which having artistic tools such as the camera made it impossible to make art as it once was. Timothy O' Sullivan's A Harvest of Death (1863) proved incontrovertibly that new technologies changed the way in which everyone (not just artists) would view the world.
The next phase of Modernist art continued the valorization of the new, although in far more ironic ways. Indeed, irony itself in many ways can be seen to be the way in which many artists chose to confront the emphasis on the new. Beginning with the (then) new century, artists tried to combine new technologies and new social mores to ensure their audiences that they were the newest and therefore the best thing. Giacomo Balla's Dynamism of a Dog on a Leash (1912) focused on the ways in which technology affects the literal ways in which people view the world while a work like Marcel Duchamp's Nude Descending a Staircase No. 2 (1912) incorporating much more traditional artistic techniques with the innovative idea that art could only be defined by the artist.